James Gunn's costumed avenger parody asks the questions, How can an
ordinary guy become a superhero, and what happens if he does? Rainn
Wilson stars as a short order cook who, in the wake of the departure of
his wife (Liv Tyler) into the arms of a drug dealer (Kevin Bacon),
becomes a crime fighter, taking on as his sidekick a comic book store
clerk (Ellen Page). Rob Thomas of the _Capital Times_ calls _SUPER_ a
"grimy, bloody and absolutely pitch-black superhero movie. And it's also
really funny." Brian Tallerico of HollywoodChicago.com [1] writes that
_SUPER_ contains "my absolute favorite performances of the year so far."
Michael Phillips agrees: in the _Chicago Tribune_, he praises Ellen
Page, who "goes bonkers, giving her gleeful nut job one of the more
memorable horselaughs in recent American film history." For Robert Levin
of Film School Rejects, _SUPER_ is an "appealing, often hilarious
corrective to the conventional pop cultural idealization of the
superhero." Ignatiy Vishnevetsky of _Ebert Presents At the Movies_ says
that _SUPER_ "is both funny and unafraid to show the moral ugliness of
its main characters." Jeffrey M. Anderson of Combustible Celluloid finds
that _SUPER_ is a "disturbing, amazing experience."

Premiere (2010, 161 min. 35mm print)Starring Paz de la Huerta, Nathaniel Brown, Cyril Roy Directed by Gaspar NoeDramaLanguage: In English and Japanese with English subtitles

ENTER THE VOID is the psychedelic thriller by visionary French maverick Gaspar No� (Irreversable, I Stand Alone), a cinematic thrill ride that has riveted audiences at the Cannes, Toronto, Sundance and SXSW film festivals. Nathaniel Brown and Paz de la Huerta star in a
visceral journey set against the thumping, neon club scene of Tokyo, which hurls the viewer
into an astonishing trip through life, death, and the universally wonderful and horrible moments
between. An immersive and just plain mind-bending experience, ENTER THE VOID is sure
to be one of the most talked-about films of the year. Thomas Caldwell of Cinema Autopsy
found ENTER THE VOID to be "an astonishing and hallucinogenic cinematic experience that
mesmerized me for its entire running time." Internet reviewer Cole Smithey deemed it "such
a virtuosic, if orgiastic, piece of experimental exploitation cinema that the audience is �
mesmerized by the bold attack on the senses that Noe assaults the viewer with." Rich Cline of
Shadows on the Wall writes that the film is "packed with moments of filmmaking genius." Mike
Goodridge of Screen International says �ENTER THE VOID is a trip." And Manhola Dargis in
The New York Times states: �This is the work of an artist who�s trying to show us something we
haven�t seen before!�

Premiere (1977, 87 min.)Directed by Nobuhiko ObayashiHorror/ComedyLanguage: In Japanese in subtitles in Engish

Manohla Dargis of the New York Times: "Delirious, deranged, gonzo or just gone, baby, gone — no single adjective or even a pileup does justice to 'House,' a 1977 Japanese haunted-house freakout. Directed by Nobuhiko Obayashi [it is an] energetic exemplar of pulp surrealism… it is receiving its first, must-see-now domestic theatrical run. A midnight movie in lysergic spirit and vibe, this was a film made for late-night screening and screaming." Chuck Bowen of Slant sees deep themes in the film: "It's a dark cartoon of unfettered play, an attempt to directly channel budding teens' stream of consciousness with its neediness, triumph, exhilaration, confusion." Ms. Dargis adds that the typical viewer response "will be of surprise and delight, not terror."

After his family is destroyed by feral vampires teenager Martin (Connor
Paolo) hooks up with a stranger named Mister (Nick Damici), and together
they set out for New Eden, a place they hope is a sanctuary from the
chaos, fighting cannibals and cult leaders along the way. Very much in
the spirit of post-apocalyptic films such as _The Road_ and
_Zombieland_, _STAKE LAND IS A BLEND OF ROAD FILM AND AND COMING OF AGE
TALE_. Richard Larson of Slant Magazine praises director Jim Mickle's
"an eye for detail," noting that he has made a film that is "slick,
scary, and occasionally poignant, deftly rising above the swarm of
imitators." Scott Tobias of NPR finds that Mickle"creates a wasteland
that would be compellingly deranged even without vampires." In the _New
York Times_, Jeannette Catsoulis writes that "Ryan Samul's
cinematography and Jeff Grace's score" smoothly maintain "an unstable
atmosphere of lurking horror." Maitland McDonaghof _Film Journal
International_ says that _STAKE LAND_ is "a clever horror-action hybrid
tailor-made for viewers who like their vampire movies bloody and mean,
rather than awash in teen angst." Karina Longworth of the _Village
Voice_ also calls _STAKE LAND_ a "hybrid," one that grafts the
"ethereal, landscape-driven, light-infused beauty and na�f narration
associated with Terrence Malick onto a tale in which struggle against
supernatural forces is just one challenge of coming of age."

Premiere (2011, 90 min.)Directed by Werner HerzogDocumentaryLanguage: In English and German with subtitles in English

With his appetite for difficult locations and his fascination with man's
drive for power and art, the prehistoric art found in the limestone
cliff caves above the Ard�che River in southern France are a perfect
culmination of Werner Herzog's interests. Generally closed off to the
public, and only open to scientists and specialists a few days out of
the year, the caves house examples of mankind's earliest efforts at art
and representation. Nevertheless, for _CAVE OF FORGOTTEN DREAMS_ Herzog
managed to open up the caves to his film crew, who collate from the
images what for Philip French of the _Guardian_ is "a fascinating film."
For Sukhdev Sandhu of the _Daily Telegraph_, _CAVE OF FORGOTTEN DREAMS_
is "rich in stern awe and disciplined wonder." The _Hollywood Reporter_
finds that _CAVE OF FORGOTTEN DREAMS_ sports "one of the best uses ever
of 3-D." Andrew O'Hehir of Salon finds that the "art is beautiful, even
stunningly accomplished, and these images are breathtaking � unlike
anything you've seen before or will see again." Concludes Fernando F.
Croce of Slant Magazine, "Only Werner Herzog would have thought of
applying 3D technology to ancient rock walls, and, furthermore, made
them more beguiling than all the galaxy's giant blue felines." _CAVE OF
FORGOTTEN DREAMS_ is presented in 3-D.

Loud music. Pornography. Burning things to the ground. These are a few
of Hesher's favorite things. And they are what Hesher (Joseph Gordon
Levitt) brings into the lives of TJ (Devin Brochu) and his father, Paul
(Rainn Wilson) when he takes up residence in their garage uninvited.
Grief-stricken by the loss of TJ's mother in a car accident, Paul can't
muster the strength to evict the strange squatter, and soon the
long-haired, tattooed Hesher becomes a fixture in the household. Like a
force of nature, Hesher's anarchy shakes the family out of their grief
and helps them embrace life once more. Also starring Natalie Portman,
Spencer Susser's _HESHER_ is the latest variation on the uninvited
stranger film, which includes titles such as Pasolini's _Teorema_ and
Dennis Potter's _Brimstone & Treacle_ � with a little bit of Mike
Leigh's _Naked_ thrown in. "With tattoos of a middle finger on his back
and a dead stick figure on his chest, Gordon-Levitt's Hesher is raw
destruction," writes Amy Nicholson in _Boxoffice_. _HESHER_ "manages to
succeed with a pastiche of great casting and an unapologetic slant
towards being anti-touchy-feely. Until it needs to be," comments Erik
Childress in Cinematical. For Tim Grierson of _Screen International_,
_HESHER_ is "pleasingly provocative."

One morning, Rhoda Williams (Brit Marling,
who also co-wrote the script), a bright
budding scientist accepted into MIT's
astrophysics program, wakes up to discover
that the earth has a new moon � sort of. It is
a replica of the earth itself, circulating the
globe as a secondary satellite. In what Tom
Long of the Detroit News calls "a wrenching
story and a wonder-tinged film," ANOTHER
EARTH follows Rhoda later that day to a
party, where everyone is talking about this
new astro-phenomenon, and in a careless
moment, Rhode drinks too much at a party
and drives home. Four years later, the
consequences of that evening's events come full circle when Rhoda meets a
brilliant composer, John Burroughs (William
Mapother of Lost, and a cousin to Tom
Cruise), who has retreated from the world.
The two outsiders begin an unlikely love
affair and reawaken to life. Roger Moore of
the Orlando Sentinel calls ANOTHER
EARTH "an exploration of grief, guilt and
redemption that plays out almost entirely
between two people thrown together by
circumstance." Steve Persall of the St.
Petersburg Times writes that ANOTHER
EARTH "is a tough movie to shake off ...
resisting movie tactics that usually
accompany such material. Using a sci-fi
premise to engage a grounded, almost
pedestrian story of guilt and regret is a bold
stroke." For Clint O'Connor of the Cleveland
Plain Dealer, Brit Marling is "mesmerizing in
this spare and stark story of redemption."
And director Mike Cahill, writes James Kendrick of the Q Network Film
Desk, "proves to be quite adept at
conveying surprising depth with a visual
minimalism that suits the film's relatively
low-budget, independent origins."

Receiving a 100 % approval rating on
Rotten Tomatoes, BRIGHTON ROCK is the
post-war British noir crime thriller based on
the bestselling novel by Graham Greene,
which made a star out of Richard
Attenborough, who went on to become an
Academy Award winning film director
himself. Attenborough plays Pinkie Brown,
a small-town gangster whose hoods runs a
protection racket based at the race course
in the seaside town of Brighton. When
Pinkie orders the murder of a rival, Fred
(Alan Wheatley), the police believe it to be
suicide, but that doesn't convince Ida
Arnold (Hermione Baddeley), who was with Fred just before he died, and she sets out
to find the truth. She comes across naive
waitress Rose (Carol Marsh), who can
prove that Fred was murdered. In an
attempt to keep Rose quiet Pinkie marries
her. But with his gang beginning to doubt
his ability, and his rivals taking over his
business, Pinkie starts to become more
desperate and violent. Not to be confused
with the recent remake, BRIGHTON ROCK
in John Boulting's adaptation is in the words
of the Village Voice's Vadim Rizov,
a "seedy noir, equal parts concealed-
camera atmosphere and tense set pieces."
Chris Cabin of Filmcritic deems BRIGHTON
ROCK "nuanced and subtle," while Dennis
Schwartz of Ozus' World Movie Reviews
deems it a "don't miss ." Jake Arnottof the
Guardian writes that BRIGHTON ROCK,
with its Greene style examination of crime
and faith clashing with society and desire, "is worth another viewing simply as
a reminder that gangster films are meant to
be unsettling."

For whatever reason, rock stars rarely
transfer their charisma to the big screen.
And a rock star such as David Bowie was
especially intransigent, given his chilly
sometimes ethereal
and
gender
transgressing persona. One of the few films
to accurately capture his public persona,
indeed one of the few films to capture any
rock performer's act, was Nicholas Roeg's
THE MAN WHO FELL TO EARTH, which
perfectly melded Bowie's elegant and
fragile affect with a low-signal sci-fi tale
derived from a cult novel by Walter Tevis
(The Hustler). Supported by an oddball cast
that includes Rip Torn, Candy Clark, Buck Henry, and Bernie Casey, the story
concerns a space alien (Bowie) who crash
lands on Earth while seeking help for his
drought-stricken
planet.
By
securing
patents to advanced technology, he
becomes a fabulously wealthy industrialist.
However, money and its attendant
decadence ultimately exert a stronger
gravitational pull. Variety noted that upon its
release in 1976, THE MAN WHO FELL TO
EARTH established Roeg as "one of the
most talented and imaginative new
filmmakers in this part of the world," while
Peter Keough of the Boston Phoenix found that "the technological elements of
the film have proven oddly prescient."
Laura Clifford of
Reeling Reviews sees that Roeg's style "gives
a hallucinatory sheen to the tale," while
Dennis Schwartz of Ozus' World Movie
Reviews finds that the "casting of the
androgynous-bent rock-star David Bowie
was an alien was inspired." Thirty-five-
years later, THE MAN WHO FELL TO
EARTH has "lost none of its ability to
startle" for Tim Brayton of Antagony
&
Ecstasy. Joshua Rothkopf of Time Out New York concludes
that THE MAN WHO FELL TO EARTH
remains the "most intellectually provocative
genre film of the 1970s." Originally cut by
20 minutes in its 1976 U.S. release, this 35th anniversary is the
complete version.

A film with a delicate, even controversial
subject, THE ADULTS IN THE ROOM is a
hybrid documentary exploring filmmaker
Andy Blubaugh's relationship with an older
man during his teen years and his efforts in
the present to turn those events into a
narrative film. It combines re-enactments of
the troubled romance through the
recollections of a now wiser Andy and
interviews with relationship columnist Dan
Savage, educators, and social workers to
explore this thorny issue of adolescent
sexuality and the relationships that make us
who we are. THE ADULTS IN THE ROOM
is an important cultural milestone, one that makes people think and reflect, before they
rush to condemn and judge. Writes Shawn
Levy of the Oregonian, "I write as an
unabashed fan of Andy Blubaugh�s honest,
witty, smart, and fresh movies, which I�ve
been enjoying one by one the last couple of
years. They are unique because they arise
from the human idiosyncrasy of the
filmmaker himself: the sort of grassroots
creativity that feels very now and
very 'Portland' to me." Documentary
filmmaker Alan Berliner also has high
praise for THE ADULTS IN THE ROOM,
noting that it is a "genre-busting cinematic
tour de force, mixing dramatic reenactment,
documentary interviews, behind the scenes
('the
making
of')
verit�
footage,
autobiography, lyrical cinematography (and
who knows what else he has up his sleeve),
into a film project unlike anything we�ve
ever seen before." The Bay Area Reporter's David Lamble praises Calvin McCarthy's
performance as a young Andy, writing that
the
actor
"employs
his
choir-boy
countenance to hint at the many faces and
motives of the teen 'victim' of an adult/child
relationship."

Much more famous in France and Europe
than anywhere else, while also being
almost invisibly influential internationally,
Serge
Gainsbourg
(1921-1991)
was
probably the preeminent singer songwriter
of his era, ushering in a sexual maturity
commensurate
with
the
liberation
movement of the 1960s. In this "impressive
film" (David Stratton, At the Movies), comic
book artist Joann Sfar interprets this
fascinating life which tracks Gainsbourg
(Eric Elmosnino), from his childhood years
in Nazi-occupied Paris, through his early
years as a painter and jazz musician
(brushing shoulders with Boris Vian), to his
life as a wildly popular singer-songwriter,
notorious bon vivant, and lover of some of
the world's most glamorous women
including Brigitte Bardot (Laetitia Casta),
Jane Birkin (Lucy Gordon), and beatnik icon
Juliette Gr�co (Anna Mouglalis), who all
share the screen with a giant puppet alter-
ego: a scary, libidinous bad-boy who
personifies all of Gainsbourg's worst
proclivities. Jordan Mintzer of Variety found
GAINSBOURG both "evocative and faithful
in its depiction of the famed French singer's
lascivious life," while Sandra Hall of the
Sydney Morning Herald deems it "a
celebration; an entertaining tribute." Alice
Tynan of Concrete Playground praises the
film as an "impressionistic rendering, a
decadent celebration and a downright sexy
account of a supremely talented musician,
and his ugly mug." David Edwards of the
Daily Mirror is pleased with the "sheer
imagination brought to the screen -- not to
mention the tunes," while Derek Malcolm of
This is London finds that GAINSBOURG: A
HEROIC LIFE has a "ripe, grown-up
eroticism as rich as the sumptuous
costumes and sets."

The cult film of the century, THE ROOM is the auteur labor of Tommy Wiseau, who wrote, directed, and stars in this tale of a Johnny, a successful banker who is perhaps too trusting of his bride to be, Lisa (Juliette Danielle). Complications ensue when Johnny's best friend, Lisa mother, and some newcomers get involved with the couple. The Dim Post says that THE ROOM "lived up to the hype," while Film Fiend found it "deliriously entertaining." Picture Show Pundits asserts that "to watch THE ROOM is truly a life-altering experience." Possibly the best worst movie ever made. Come join the interactive fun!